Friday, August 21, 2015

Het Pandorra Ensemble - 1978 - III

Het Pandorra Ensemble
1978
III




01 Door mekaar (10:33)
02 Kanon pittoresk (11:11)
03 Ritme 7000 (2:35)
04 Drei (4:58)
05 Karotten (15:27)
06 Improv 'Stille Willie' (6:41)
07 Kanonjam-pedaal kwijt (2:04)
08 Improv 'Rockin' Rollie' (8:19)
09 Kaas! (12:00)
10 Oude & Spaanse Kaas (1:30)
11 Karrottentokkel (2:42)
12 Die Sterveloze Melodie (1:33)

Gert-Jan Blom (bass)
Roland Brunt (flute)
Jean Eble (drums)
Dolf Planteijdt [aka Dolf] (guitar)
Wouter Planteijdt (guitar)
Wilfrid Snellens (drums)

This album was recorded in 1978, Released in 1979, and in 1980 copies were given away with the political magazine "Gramschap" (10th edition)

Tracks 1 - 6: Original Album, Mixed By Dolf and Wouter Planteijdt & Sasa Tozzi, Exterveen 1978.
Tracks 6 - 8: Unreleased Outtakes, Mixed By Dolf and Wouter Planteijdt, Amsterdam 2011.
Tracks 9 - 12: Recorded live on September 30, 1978, in Alpha, Beverwijk on 2-track 1/4" reel-to-reel. Restored by Dolf Planteijdt. Amsterdam 2011.




It's a bit hard to believe this music is from 1978. Where the album lands is somewhere between progressive rock(with some mild jazz influence and avant-garde sympathy) and post-punk. There're some problems with consistency, since the middle section has some shorter stuff(also mellower) that should've been shorter(pun-intended). My favorite off this unusual album is the first track.

From the openings chords i can hear clear Canterbury influences, reminiscent of National Health's albums from the same year. These moments are abruptly disrupted in a manner which almost remind me of unplugging a cable. What ensues are like the existential hesitations of the likes of Joy Division, with the melancholic melody on the back while the bass-line keeps soloing away; creating an atmosphere of anxious preoccupation that lasts quite a while; until it eventually ends with a King Crimson'like guitar wail that sounds like smashing a mirror. They've contrasted the melodic aspect of post-punk/jazz with King Crimson's fuzzed paranoia(two guitarists btw), and this combination is working like a charm - abandoning the old prog redundancy - the band is already embracing the future. There's material for you math-rock geeks as well. Check out the crazy, jazzy section and the end of the second track, all of these strange stops-accelerations and often dissonant, distorted chords coalesced with their melodic counterpart. Excellent production as well - their great bass player is always audible in the mix and the dynamic drum fills are even better. I'm very surprised to hear such a strong mix from an obscure band.

A very interesting album for that year, give them a shot if you'd like to have a vague idea how a progressive Robert Fripp would've sounded in 78'. The reissue has some great bonus material as well.

This CD reissue on Modulus (USA) is a beautifully packaged gatefold mini-LP, with incredible sound, tons of bonus material, a history, photos, etc... A stunning package - as gorgeous as any Japanese mini-LP. It's worth noting that the original is a single sleeve, so this is an improvement in that category as well.

What's even more amazing, is the bonus tracks are even better! Same style of improvised melodic dissonance (how's that for an oxymoron), but perhaps a bit more focused than the album proper. Rare is the case where the bonus tracks exceed the original product.



Ma Banlieue Flasque - 1979 - Ma Banlieue Flasque

Ma Banlieue Flasque
1979
Ma Banlieue Flasque





01. 13'20 d'happiness 10:20
02. N.S.K. 7:00
03. H.B.H.V. 5:10
04. Aller-retour Les Grésillons 7:55
05. Un soir 5:00

Philippe Maugars (guitar, vocals)
Marc Ledevedec (guitar)
Philippe Botta (flute, saxophone)
Loïc Gautier (bass)
Christian "Chypo" Cheype (drums, vocals)



A French quintet playing varied music reminiscent of Zappa's humoristic style, Moving Geltaine Plates and Komintern and genres such as fusion, Canterbury, with a dash of craziness and fooling around. The mix end result makes this a very enjoyable listen. This is why this will appeal to fans of jazz-rock, RIO, Canterbury and to those who like their music to travel between all those.

The lineup consists of Philippe Maugars on guitar and vocals, Marc Ledevedec on guitar, Loic Gautier on bass, Christian "Chypo" Cheype on drumms and vocals, and Philippe Botta on flute and saxophone. The vocals themselves are sometimes sang and sometimes more in a narrative style and always playful or with good mood.
They only released one s/t album in 1979 and there were rumors of Musea re-issuing it in 2005, but nothing came out of it, but it is worth to be on the lookout for it.

Good humor, cheerful atmosphere, uplifting and amusing. That can pretty much sum this up but still not give it proper credit for the band’s creativeness.
It would seem they were having fun while recording this. I can picture them smiling while playing this. The singer sounds as if he’s about to laugh at certain points, and the different vocals he’s employing, some of them deliberately odd and squeaky, emphasize the good mood and humour embedded in this album. Not only the vocals and lyrics, but the music itself tells you that this album is about goofiness, having a good time, and enjoying the tunes, and not at the expense of the music. This attitude towards the music, not entirely bereft of the theatrical aspect that I often hear in French rock-progressif though not as prominent, reminds me a but of the deliberate foolishness of Komintern’s Le Bal Du Rat Mort and of course one can hear the Zappa-esque characteristics and influences as well. Moreover, the first track is called 13’20 d’happiness; what more evidence do you need?
But don’t think the humor comes at the expense of the music; not at all. There are fabulous melodies, great rhythm and good musicianship and instrumentation. The sax and flute bring a nice contrast to the frisky guitars which seem to have a ball. There is good variation in terms of style; from rock forms (whether progressive or not) to fusion, avant-rock/experimental and even some blues thrown in there and the ever present French charm and theatrical style. It is happy, joyous and fun - A great listening experience. It may not be the most original, but the way they mix all their influences is efficient.

While not a straightforward avant-rock album, this is quite the experimental album that would please listeners of avant-rock/RIO and also those who like Jazz-rock and Canterbury or alternatively fans of Frank Zappa, Komintern, Moving Gelatine Plates and other like-minded eccentric, experimental and humorous bands and musicians.

Protocol has it, if a band exults a work till the point of artistry (and, to embrace the warm idea, produces a splendid spark of progressive rock), that band is either rare and obscure, either a popular group with a very unusual and unexpected release - it can also have a special sound or rather contemplate an overdoze of a musical vision, fit a peculiar/particular frame of styles or swipe the floor with the competition.
Ma Banlieue Flasque is typical for the first category (in each case). However of a rare goody, an atypical flavor, an insensible grandeur and an unspectacular energy their music would appear, it is still a well-spotted, heavy, curious and upside-down trendy act, close to perfect for those who see in prog rock a hobby of sizes, a real treat and a place for pure art trying to be born out of rock. Their fizzy and snappy moment is not even part of prog rock's beginning cult, but rather of its ending years of classic jubilation, performing with much of the expanded, vulturous, emphasized or honest progressiveness, while a second style of post-modern sounds or strange jamming is also part of their view. There's only one album to prove their worthiness, and despite that the rock quintet didn't start nor ended their rock life with it, everything focuses on the album and how it can enchant. Ma Banlieue Flasque pretty much play all their cards with this short one-off project.

Even if a rather bolted choice of heavy music, Ma Banlieue Flasque is yet far from a mash of emotions and unbearable rock, the same thing going for the pleasure of listening what looks like a more critic-oriented composition. Admirable, at least for me, is that the influence taken from the RIO/Avant classic courses (apparently Zappa was a great inspiration and a musician to be improvised for them) doesn't trim the feeling of a prog rock classic beat, meaning, on one hand, that there are other artists doing a more extorted or impossible to describe art out of their music (most being RIO-ists or crazy Zeuhlists), and that, on the other hand, a few elements (like the ragged dark-bass tone or the cool-headed improvisation of symphonic, art rock, avant and jazzy chords) keep the album's special warmth inside the culture of pure and artistic, only dependent on difficulty and curiosity rock. For such a reason the links with Gentle Giant or Van der Graaf Generator sound promising, even if it doesn't mean a proper comparison. The music is, essentially, a lot freer and unbounded upon listening, it only stays of a fuzzy virtuosity.

The five musicians impress not by a cleansing emotion, but by a staggering energy (called "fooling around" whenever it lacks rigorousness), leaving the music a bit impure, yet more loaded. The thrills of a special sound, like the mellow one created by the saxophone or the flute, alternates with the pressured high strung of the usual instruments, like the firing drums, the serious drums or the well-dozed bass. A bit of the sound and the music is hard to categorize, otherwise there is a lively special approach of music, rock and post-modern tensions. Ledevedec's and Maugars's electric guitar spectacle is one thing, whilst the delicacy of a few acoustic hidden harmonies is touching. The vocals are not stunning (nor too important), but give an air to the rest of the whirlpool jam.

Ma Banlieue Flasque lasts under 40 minutes, with a treacherous and unequal epic being anyway supreme in comparison with the rest of the album (the four pieces left are from light to dissonant and clothed), is intense and creative, and proves a pleasant model in combining the more unusual prog rock with the complex character of an artistic sensibility and the cold ambiance of a dynamic chromatic.

This band's rare pearl isn't perfect, neither sensational (for the masses), but feels a lot like an obscure record with an authentic sound of hard-worked rock. Turning a harsh strip of difficult listening into impressive music, solid art and veracious prog, Ma Banlieue Flasque's fumigating underground realization is, nolens volens.

M.O.T.U.S. - 1972 - Machine Of The Universal Space

M.O.T.U.S.
1972
Machine Of The Universal Space



01. Let It Get Higher    3:38
02. Summer Song    3:33
03. Ba'Albeck Stone    3:37
04. Out In The Open    3:47
05. Green Star    3:19
06. Tiahnanaco Road    3:07
07. Aledebarente    4:52
08. Mesopotamie Natale    5:38
09. Proxima    2:40

Ian Jelfs - guitar, lead vocal
Michel Coeuriot - organ, keyboards, vocal, percussion
Gilles Papiri - bass guitar, percussion
Philippe Combelle - drums, percussion



 Psych Jazzy Prog (France), Original release 1972. Feat. Ian Jelfs , future member of french prog group "Alice". Prog rock with jazz influences. In some tracks you can here strong influences of early Caravan. Some guitar parts are in style of early Allan Holdsworth playing. Great Hammond organ sounds in classic rock style. Guitar and vocalist play before (with Mell Collins) in legendary Circus band.

M.O.T.U.S. were a French progressive band that had a very English sound, due largely to the fact that they had an English singer in Ian Jelfs (formerly of the UK band Circus). Their material was heavish, with quite a few jazzy chord progressions and guitar parts. To be honest with you, their material was pretty good, but nothing to get all that excited about, and their sound was maybe like a cross between early Caravan (with the organ style) and some of the more "rock-based" Vertigo acts.

The only album from the Frech progressive quartet (inc. one British member) appeared on the market in 1972 (on a small Connection label) and featured English lyrics sung by Ian Jelfs - former guitarist of the UK progressive rock formation Circus (of Mel Collins fame). This rare album will certainly delight the majority of fans of early Caravan, Traffic and Brian Auger's Trinity (circa 1970) - with dominant and powerful Hammond organ sounds; tight rhythm section and impressive, jazzy guitar licks (somewhat similar to Allan Holdsworth and Robert Fripp). This LP doesn't contain any fillers and certainly belongs to the top of the early 70's French progressive rock. This CD has been carefully remastered (from original source) and sounds deliciously!

Masami Kawahara & The Exotic Sounds - 1970 - Ecstasy

Masami Kawahara & The Exotic Sounds
1970 
Ecstasy




01. Temptation
02. Black Orpheus
03. Taboo
04. Jungle Drums
05. Swahili
06. Man & Woman
07. A Coral Reef Of The Noon
08. Nightingale
09. The Voodoo
10. Flamingo
11. Emiliano Zapato
12. Poinciana

Credits
Bass - Masaoki Terakawa
Drums - Akira Ishikawa
Flute, Saxophone - Kosuke Ichihara
Leader - Masami Kawahara
Saxophone - Jake H. Concepcion
Trumpet - Koji Hatori
Vibraphone - Mitsuo Yamashita



Originally released on Columbia Records in March 1970. Sleevenotes contain an interview with Masami Kawahara.

I think the word "exotica" got mistranslated as "erotica" in Japan. That's the only explanation for this record which sounds like a woman getting whipped and spanked with a Les Baxter LP playing in the background.

The Tiliqua label is back, and not soon enough for these ears let me tell you. Since last year's explosion of 1960's classic Japanese porn-star albums I've been so sexually frustrated I've had to spend most pre-work mornings phoning into television helplines to vent my pent-up anger and desire for Japanese starlets with guns, so it comes as something of a relief to see Tiliqua return to this much sought-after blue series. This particular disc comes to us from the very capable stable of Masami Kawahara, not a name which might ring any bells instantly with you - but you might like to know that this was the same insane brain who was behind the very awesome and highly acclaimed Ike Reiko album (still to our mind the best in the Tiliqua catalogue, and now long sold out). So you should know what to expect if you managed to bag that little gem of a release, this is prime quality Japanese porn-jazz, with some Latin-flecked funk edits featuring a very saucy young lady moaning over the top. In the liner notes M.Kawahara reminisces that he doesn't remember who the girl was, but says when she had to moan she was touched or petted on cue - now that sounds like hard work eh? The funniest thing is that some of these tracks are actually totally insane, take the fourth track (it has a name in Kenji so please don't ask me to write it out) for example, all tribal drums and fractured synthesizers as our protagonist comes to a rather violent orgasm (amidst some whooping and chanting from what sounds like a cannibal filled jungle). This is utterly crackers stuff and for crate diggers, people searching for something totally unusual or those of you looking to get past the readers wives section of Razzle, this should be just the ticket. It's like Martin Denny's incredible "Exotica" series, except with some carnal activity going on in the background - how genius. Well I love it, and since we only have limited copies in stock you'd better act quickly if you want to bag one. Oh, and did we mention the gorgeous vinyl-reproduction Japanese packaging? Essential Purchase!

Jean-Jacques Perrey - 1971 - Moog Sensations

Jean-Jacques Perrey
1971 
Moog Sensations
 


01. The Percolator    
02. Moog Sensations    
03. Aérolithe Alpha    
04. Ballet Intersidéral    
05. Borborygmus    
06. One Zéro Zéro    
07. Chronophonie    
08. Coeur Synthétique    
09. Berceuse Pour Un Bébé Robot    
10. Indicatif Spatial    
11. Pizzicato Pour Vénus    
12. One Two Two    
13. Music    
14. La Panthère Cosmique    
15. Soirée Chez Jean-Sebastien    
16. Quand Le Temps Sera Venu    
17. Colonie Céleste    
18. La Tour Pointue    
19. Relaxation    
20. Moogie Boogy


The reissue of this record got only credited to Jean Jacques Perry. The original record ist credited to Pat Prilly, his daughter, who wouldn’t compose but give him ideas and play things on her organ so he gave her credit on those song. Also a legal background (like him signed to another label that time) is possible for giving credits to her.




The moog fad wasn't all-kitsch. This album by the master Jean-Jacques Perrey is definitely outside the range of cheap interpretations on Moog of various genres started by Switched-On Bach. This is full-grown art on Moog, it's still quite "ridiculous" and probably only interesting for fans of Moog, but it consists of all-original compositions - and surprisingly good too. You'd be surprised to hear track 2, "Moog Sensations", sounds a lot like "Percolator" from Emperor Tomato Ketchup, song which is named after track 1 of this album, "The Percolator". Or after an instrument with the same name... Who cares? Anyways, if you're new to Moog music, like myself, you'll find lots of motivating gigs here. Songs like "La Panthere Cosmique" are actually really great!

Jean-Jacques Perrey - 1970 - Moog Indigo

Jean-Jacques Perrey
1970
Moog Indigo



01. Soul City
02. E.V.A.
03. Rose and the Cross
04. Cat in the Night
05. Flight of the Bumblebee
06. Moog Indigo
07. Gossipo Perpetuo
08. Country Rock Polka
09. Elephant Never Forgets
10. 18th Century Puppet
11. Hello, Dolly!
12. Passport to the Future


Moog Indigo is the eighth solo album by electronic music pioneer Jean-Jacques Perrey. It was released in 1970 on Vanguard Records, an independent label. The ninth song, a cover of Beethoven's Turkish March called "The Elephant Never Forgets", was used as the theme song for El Chavo del Ocho.

Contrary to what some might expect, the title track bears no resemblance to the jazz standard "Mood Indigo"; in any case, the intended pun wouldn't work as "Moog" is a Dutch name hence its vowel sound is quite close to that in the English "vogue"

If you like the early, shinybubbly moog synth sound, you might like this. Don't expect any masterful compositions, however: tracks like Elephant... and Puppet... trade on the novelty of the sounds rather than any satisfying compositional quality. And the absurdity of Hello Dolly and Bumblebee is good for only a single hearing; even the classic EVA wears out its welcome fairly quickly. If you're really keen on Perrey check out the Best Of available on import from the UK

Jean-Jacques Perrey - 1968 - The Amazing New Electronic Pop Sound Of Jean Jacques Perrey

Jean-Jacques Perrey 
1968
The Amazing New Electronic Pop Sound Of Jean Jacques Perrey



01. Mary France
02. The Little Ships
03. Island in Space
04. The Mexican Cactus
05. Porcupine Rock
06. The Little Girl From Mars
07. Mister James Bond
08. Frère Jean Jacques
09. Brazilian Flower
10. In the Heart of a Rose
11. The Minuet of the Robots
12. Four, Three, Two, One
13. Gypsy in Rio


In 1968, the happiest music of all human history was created by a small, balding, middle-aged frenchman called Jean-Jacques Perrey. Now, there's no objective way to measure this but frankly if you disagree you're probably Queen Victoria - and she's dead AND a monarch so her opinion really doesn't count. The Amazing New Electronic Pop Sound of Jean-Jaques Perrey is, surprisingly, an early electronic pop album by the aforementioned, consisting of fairly primitive synthesisers - mainly, I think, the now legendary Moog (it's pronounced like mohg, people!) synthesiser along with an ondioline - and backed by a reasonably traditional band. Although his use of the synthesiser to create cheerful sounds and noises is pretty enchanting, it's the way that the new technology is applied to the music that makes this album shine. The combination of originals and covers of popular tunes are transformed into an odessey of aural delight by Perrey's imaginative use of his instruments.

Here's a little trivia break - isn't it strange that one of his songs (The Little Ships) became something on an internet sensation thanks to the wonderfully goofy short animation Going to the Store?

Pretty much every track on this flight of musical fantasy is an utter joy to listen to, but there are a few real stand-outs that are particularly lovely. Obviously The Little Ships is up there thanks to the bizarre effects throughout the song and the infectious melodies, but tracks like The Little Girl from Mars, Frere Jean-Jaques and Brazilian Flower are all perfect expressions of happiness via music. In every note there is a potential smile, in every song the seed for a good day. This album is the wonder and excitement of a child seeing something new, it's the feeling when the first day of summer really is a wonderful day, it's every heartfelt gift you've ever given or recieved, it's being smiled at by a pretty stranger in a coffee shop - in short, this album could be the soundtrack to everything good, joyous and fun in the world.


Perfection is more or less irrelevant, but happiness isn't, and The Amazing Pop Sound makes me happy every time.

Jean-Jacques Perrey - 1962 - Musique Electronique Du Cosmos

Jean-Jacques Perrey 
1962 
Musique Electronique Du Cosmos


01. The Alien Planet
02. In First Orbit
03. Music Of The Planets
04. Space Light
05. Intercelestial Tabulator
06. Mars Reflector
07. Aqua Density
08. Caverns In Deep Sea
09. Cybernauts
10. Saturnian Bird
11. Andromeda Calling
12. The Saturn Ambassador
13. Spatial Blues
14. Barnyard In Orbit
15. Chicken On The Rocks



Jean-Jacques Perrey’s extremely rare 1962 library music album Musique Electronique du Cosmos (only 500 copies were pressed)

What starts off as a fairly standard collection of space soundscapes ( if there is such a thing ) gets progressively weirder and weirder with "Saturnian Bird" and "Barnyard In Orbit" in particular raising eyebrows. Being a Jean-Jacques record there is plenty of electronic experimentation underpinning all the quirkiness and the tracks are kept nice and tight with the longest one clocking in at 2 mins 22 secs. While there isn't anything especially groundbreaking on this 1962 release, I'm sure it will please the fans along with anyone who enjoys a bit of space themed music.

Jean-Jacques Perrey - 1960 - Mr. Ondioline

Jean-Jacques Perrey 
1960 -
Mr. Ondioline




01. Parade des soldats de bois
02. Gavotte des vers luisants
03. Le siffleur et son chien
04. Nola




Enjoy the vacuum tube-y goodness of the Ondioline as demonstrated by its best known ambassador and salesman, the legendary Jean-Jacques Perrey under the guise of his rather sinister looking alter ego Mr. Ondioline from this 1960 French E.P.

Jean-Jacques Perrey (born January 20, 1929, France)

Synthesized sound appears in just about every form of music today, and most of us take for granted how the range of synthetically possible sounds have joined the ranks of instruments. At one point, synthesizers were a big novelty, and folks were amazed at how closely the sound resembled the real thing. Along with several other pioneers, Jean-Jacques Perrey took synthetic sounds from a parlor trick in mimicry to a versatile instrument capable of producing previously unheard sounds, which has developed into the range of genres of electronic music we hear today. With Perrey having just celebrated his 84th birthday, we look back on a career that spans five decades.

Perrey was in medical school when he first met Georges Jenny, inventer of the Ondioline. A precursor to the machinery of today, this proto-synth could emulate the the sounds of several instruments and allowed the player to control the vibrato by physically moving the key surface. This made it possible to truly humanize the sounds, and if played right, became almost indistinguishable from the real thing. And Perrey played it right. So deeply did Perrey believe in the potential of this instrument that he became a sales rep for Jenny and traveled around promoting the Ondioline, largely through demonstrations. These demos, with Perrey playing the piano and the Ondioline simultaneously, became wildly popular and ended up becoming a touring nightclub act in Europe. He eventually brought his act to the US, where he broke the Ondioline to new audiences.

Perrey’s profile rose, and he began working with musicians like Charles Trenet, Django Reinhardt, and, at the height of her career, Edith Piaf. As a big supporter of Perrey’s work, she provided him with recording facilities, which he used to create music by splicing and rearranging sections of tape, a process now known as “sequencing” and conducted on a screen using software. The results were remarkable experiments in yet unheard sounds, and Piaf sent one of these tapes to music contractor Carroll Bratman, who immediately invited Perrey to come to New York. Here, Perrey found a new set of collaborators like percussionist Harry Breuer, Andy Badale, and Billy Goldberg, doing both creative and commercial work. It was when he linked up with Gershon Kingsley that Perrey created the work that truly demonstrated the potential of electronic instruments, and the music that he would be most celebrated for.

At the time, Kingsley was an arranger for Vanguard Records and began working with Perrey’s abstract tape loops, combining them with more conventional musical arrangements of the time. Their first album together, The In Sound From Way Out (1966)(not to be confused with the Beastie Boys album of the same name), made Perrey’s experimentalism a bit more accesible, augmented with Kingsley’s arrangements. Yet, the music palpably broke new ground with the types of sounds included in the compositions—cartoonish bleeps and boops that would become Perrey’s signature. His work with Kingsley influenced his later solo work, maintaining the odd pallet of sounds but also maintaining somewhat of a conventional aesthetic.

Perrey continues to release music and engage in collaborations that keep him with the times, working with artists like Luke Vibert, Dana Countryman, and David Chazam, in recent years.

Breuer & Perrey -1970 - The Happy Moog

Breuer & Perrey
1970 
The Happy Moog





01. Space Express
02. Short Circuit
03. Paris 2079
04. In a Latin Moog
05. Moog Foo Young
06. Re-Entry to the Moon
07. Saturn Ski Jump
08. In a Happy Moog
09. Blast-Off Country Style
10. March of the Martians


Harry Breuer
Jean-Jacques Perrey



C'mon get happy.  But can music really isolate "happy", when it means so many different things to different people?  Well sure it can.  Grab a Moog, and imagine Martians have invaded what I think we can all agree when our collective subconscious was most happy - our great-grandparents' childhoods.  Join the oompah parade of old-timey crap like parasols, all-day suckers, unicycles, and cultural stereotypes ("Moog Foo Young", anyone?), and get giddy already.  It's an ongoing, jokey vaudevillian pie-throwing farce - with the punchline in its 1970 liner notes:  "The world needs love, and this Moog Synthesizer can get with the heart and flowers scene like crazy."  Eh?  The senile or the pre-pubescent maybe, but I hope they didn't actually market this to flower children.

Dan Mândrilă - 1980 - Alter Ego

Dan Mândrilă 
1980
Alter Ego



01 - La Sezatoare
02 - Valsul Mariei
03 - Contemplatie
04 - Joc De Doi
05 - Jucarii Pentru Linda
06 - Balada
07 - Sonet
08 - Poveste Veche

Dan Mindrila: Sax
Radu Goldis: Guitar
Nicolae Farcas: Trombone
Ion Baciu Jr.: Keyboards
Idu Barbu: Synthesizer, Strings
Dan Dimitriu: Bass
Marian Toroimac: Drums
Costin Petrescu: Percusion
Bogdan Dimitriu: Piano



Dan Mândrilă  (b. 1938 , Chisinau - died December 31 1992 ) was a saxophonist , clarinetist , band leader and composer Romanian of jazz and pop music . It is considered one of the best Romanian saxophonist of all time.

Graduated from the Conservatory "Porumbescu" of Bucharest, Mândrila joined Electrecord Orchestra in 1963. With this orchestra toured the GDR, FRG, Finland, Sweden, Poland etc.. He participated in festivals in Ploiesti, Sibiu, Prague, San Sebastian, etc.. In 1970 he was elected member of the East European All Stars Big Band.